Imagine, perform and produce domestic and international performance opportunities and collaborations on behalf of the students and faculty in the department

Consult on curriculum and facilities design of partnering international music technology programs on behalf of San Francisco Conservatory of Music

Developed and finalized six strategic partnerships with leading companies and industry organizations for internship opportunities, departmental collaboration, and visiting industry faculty lectures.

Finalized 5-year strategic Partnership agreement to include exclusive summer program and feeder curriculum with Shanghai Vocational School of Modern Music and Shanghai Conservatory of Music.

Oversee Conservatory archival recording services staff and budget

Archival recordings of up to 500 performances per year

Associate Dean for New Media and Music Technology

San Francisco Conservatory of Music, San Francisco, CA

August 2014 - April 2016

Chaired committee to a nearly unanimous vote from the full faculty of the San Francisco Conservatory of Music for approval of undergraduate and professional studies diploma programs in music technology for composers

Led the design and administered budget for a $1m construction and integration project to create 3 state-of-the-art recording rooms and 2 music technology classrooms

Managed the project from start to finish on-time and on-budget

Developed communications and brand strategy to successfully recruit target goal for inaugural class

Recruited world-class, dynamic roster of visiting industry faculty and staff to the program

Taught private lessons and up to 5 courses per year in music composition, performance and technology subject areas

Integrated pre-existing Archival Recording Tonmeister program into curriculum and budget of TAC program

Spearheaded and produced first annual “New Music Gathering” conference and festival to draw international attention and media coverage to San Francisco Conservatory of Music’s curricular initiatives

Spearheaded and produced “Game On!” conference on video game music in collaboration with Game Audio Network Guild (GANG)

Assistant Dean for Professional Development and Academic Technology

San Francisco Conservatory of Music, San Francisco, CA

July 2013- August 2014

Founded San Francisco Conservatory of Music's Professional Development and Engagement Center

Selected Press (Complete list available upon request)

2018 KQED Arts : In San Francisco, Video Games Are Classical Music’s Next Frontier

“With her breadth of musical experience and connections in Silicon Valley, Brzytwa has pushed the San Francisco Conservatory to modernize its curriculum — and the country’s other top classical music schools are still catching up. In the TAC program, technology isn’t solely to enhance more traditional modes of music-making. Instead, it carries the same weight as classical training, and students learn to apply high-level musicianship to the entertainment industry’s real-world demands. That’s not to say that the program is purely technical like at a trade school; instead, Brzytwa fosters an experimental approach on campus and encourages students to pursue creatively challenging projects”

“I wanted our TAC program to emphasize what technology can offer classical musicians and composers. Its mandate had to be a music/technology program that was specifically focused on media,” said Brzytwa….. Two years and $1 million went into converting the Conservatory’s basement into a state-of-the-art recording facility.”

2017 San Francisco Chronicle : San Francisco Conservatory of Music Celebrates 100 years

“Directed by composer MaryClare Brzytwa, the program, whose faculty includes movie composers and music folk from Facebook, trains students to score films, do video game sound design and otherwise use the technology creatively. Half the program’s 38 students are women.”

2016 Hollywood News and Reporter: The Top 25 Music Schools in 2015

“#3. The San Francisco Conservatory of Music is one of the West's oldest conservatories, but it also boasts significant support and inspiration from Silicon Valley. “MaryClare Brzytwa is a young Dean who has put this all together herself, and I'm just impressed," composer Laura Karpman (Paris Can Wait) says of the school's New Music and Technology program. "She has got a hugely diverse student body."

2015 Wall Street Journal: “A New Festival for New Music”

“With much of the classical music here focused on the starry 70th-birthday celebration that the San Francisco Symphony threw for its music director, Michael Tilson Thomas, it would have been easy to miss New Music Gathering 2015, a feisty, hybrid festival and conference that last Thursday through Saturday took over the San Francisco Conservatory of Music, just a short walk down Van Ness Avenue from Davies Symphony Hall. “

Maryclare Brzytwa is a shaman, but I’m not sure if what she sees and passes on is something that will save, doom, or merely shake the listener. Actually, being shaken is rarely a mere event, and “Stairwells” is no comfortable way for armchair gloomies to get any morose fuel for their despair. The four tracks, or Steps, of the EP are harrowing and uncompromising. We don’t really know why she has taken us to a place of horror, but it is hard to stop listening, just in case there is solid ground. There is none. From the distorted flute instrumental “Step 1,” through the next two steps’ focus on Brzytwa’s chanting and howling interaction with that flute, to the twelve-minute or so “Step 4,” the closer that weaves together voice, industrial pulse (courtesy of guest Travis Johns) finally chaotic noise, the improvisations of “Stairwells” do not so much provide access to anything more than that dark, haunted room we never leave throughout. These are powerful steps to nowhere but deeper into a landscape that calls for catharsis. Obviously the signposts here are Diamanda Galas, Suicide and Carla Bozulich, but Maryclare Brzytwa carves her own niche in the experimental search for relief from suffering through pure sound. “Stairwells” is not an easy listen, but most good medicine goes down rough, and this is sonic purge if there ever was one.”

2009 Philadelphia Northeast Times: Master Artist Rental Car

...California’s MaryClare Brzytwa — an acclaimed flutist whose music often blends her preferred instrument with a sack full of odd electronics to create haunting soundscapes. Her songs are warped journeys through twisted pathways of noise that explore and test boundaries on a whim. The flute, as played by Brzytwa, is an instrument that can quickly jump from a tortured nightmare to softly drifting lullaby. The California artist adds another layer of surrealism to her work with the help of strange sound effects that tease out the otherworldly aura of her music. It is an unnerving cocktail of beauty and dreamlike melody…

2008 Dusted Magazine, features 737: Live Solo Performance

Flutist, vocalist, electronic musician, now based in Switzerland, via Oakland, via Cleveland. She’s a pretty scary/awesome artist and improviser in her own right. I was really sold after hearing her perform solo torch-noise behind a microphone, keyboard and computer screen with the most colorful Max layout I’d ever seen. Later, I learned of her association with folks like Fred Frith, Zeena Parkins and Joelle Leandre, but here’s a list of people I think should seek her out ASAP: Kate Bush, Maja Ratkje, Meredith Monk, Mike Patton, John Zorn, Britney.

Maybe electrified female angst and all the beautiful things that spring from it floats your kayak. Then Oakland local MaryClare Brzytwa (‘brist wahh’, Polish) will transport you to netherworlds containing dark and twisty dimensions using a looped flute and custom computer programs that turn her devices into automaton improvisers, with a twist.